Latest news with #JodhaaAkbar
News18
5 days ago
- Entertainment
- News18
When Aishwarya Rai Wore 20kg Gold, The Director Deployed 50 Guards On The Set
Aishwarya Rai's blockbuster film Jodhaa Akbar, released in 2008, proved to be a turning point in her career. Also starring Hrithik Roshan, Sonu Sood and Nikitin Dheer, the historical drama was praised for its grandeur and strong performances. The on-screen chemistry between Aishwarya Rai and Hrithik Roshan won audiences over. (News18 Hindi) The royal costumes worn by Aishwarya Rai in the film were stunning. From silk sarees to heavily embellished lehengas and exquisite jewellery, her appearance added to the majestic feel of the film and made her a visual highlight. (News18 Hindi) 3/7 Many fans may not know that during the filming of Jodhaa Akbar, Aishwarya Rai wore jewellery weighing nearly 200 kg, including 20 kg of real gold. The sheer value and weight of these ornaments led the production team to assign 50 bodyguards for her security on set. (News18 Hindi)
India.com
5 days ago
- Entertainment
- India.com
Not Deepika Padukone, Priyanka Chopra, this actress wore 200 kg real jewellery, 80 kg lehenga, 50 security guards escorted her, lead actress is…, film is…
Not Deepika Padukone, Priyanka Chopra, this actress wore 200 kg real jewellery, 80 kg lehenga, 50 security guards escorted her, lead actress is…, film is… Whenever a film is produced, especially representing history, it becomes essential to pay attention to every small detail to attention. There are many mythological and even biographical films that are given more attention to detail. Films like Padmavat, RRR, Baahubali, RRR, Bajirao Mastani and many more. We get to see extravagant sets mimic history. Today we will tell you about a film, which the lead actress wore 200kg of jewellery. She used to be escorted by a bodyguard since she carried the necklace. You might be wondering who it could be other than Deepika Padukone or Priyanka Chopra. Let us tell you, you're wrong. This 2008 film became one of the biggest blockbusters of that year. The film in question is none other than Jodhaa Akbar. It is one of the successful films of Aishwarya Rai Bachchan's career. The film starred actors like Hrithik Roshan, Sonu Sood, and Nikitin Dheer. The chemistry between Aishwarya and Hrithik in the film was highly appreciated by the people. Apart from this, this historical drama attracted the audience with the royally designed dresses worn by Aishwarya. From silk sarees, pure embellished lehengas and jewellery became the centre of attraction. However, the special thing was that the former Miss World wore 200 kg of jewellery in the film. These jewellery made of pearls and metals were prepared with the help of 70 artisans, on the other hand, 50 guards were appointed to ensure the safety of the jewellery. Aishwarya Rai looked divine in every frame of the film. The actress wore all kinds of jewellery from polki necklace, maang tika to hathphool and glass bangles. Let us tell you that designer Neeta Lulla had prepared Aishwarya for the look of Jodha. That's when the actress discussed the wedding dress she wore with the designer. She wanted to wear a luxurious silk Kanjeevaram saree, apart from the grand costume of the film, which would give her a cultural look. Jodhaa Akbar, directed by Ashutosh Gowariker, became the third highest grossing film of the year. Made on a budget of Rs 45 crore, the film earned Rs 107 crore worldwide. The film gained widespread popularity and also won two awards.
India.com
6 days ago
- Entertainment
- India.com
Made in Rs 45 crore, lead actress wore 20 kg of real gold in THIS film, 50 guards used to protect her, jewellery was designed by..., the film is...
Made in Rs 45 crore, lead actress wore 20 kg of real gold in THIS film, 50 guards used to protect her, jewellery was designed by..., the film is... Released in 2008, Jodhaa Akbar starred Aishwarya Rai Bachchan alongside Hrithik Roshan, Sonu Sood, Nikitin Dheer, and others. The film became one of the biggest blockbuster of the decade and the chemistry between Aishwarya and Hrithik garnered immense praise. Apart from this, the historical drama captivated audiences with its regally designed costumes worn by Aishwarya. From silk sarees to pure ornate lehengas, the exquisite pieces worn by her in the film created quite a stir on the internet. However, the major thing that came as a shocker was that the former Miss World wore a staggering 200 kg of jewellery pieces in the film. These exquisite pearls, ornaments and other luxurious metals were crafted with the support of 70 artisans. On the other hand, to ensure the safety of the jewellery, 50 guards were employed. Aishwarya Rai looked ethereal in every frame of the film. The actress wore all kinds of different jewelleries, ranging from polki necklaces, maang teeka, to Haathphool and glass bangles. Another intriguing detail to this historic tale is that Aishwarya discussed her own wedding attire with designer Neeta Lulla while donning her Jodhaa persona. She wanted to let go of movie's opulent costume, and opted for a stunning silk Kanjeevaram saree that evoked a strong sense of connection to her cultural roots. Helmed by Ashutosh Gowariker, Jodhaa Akbar became the third-highest grossing film of the year. The film garnered widespread appeal, and also earned two awards: Best Choreography for the song Azeem O Shaan Shahenshah and Best Costume Design- all thanks to Neeta Lulla's impressive work.
NDTV
05-06-2025
- Entertainment
- NDTV
How Thug Life Stole Housefull 5's Buzz And Box Office Thunder
New Delhi: It's been over a week since one film has dominated headlines, airwaves, and dinner table conversations - and no, it's not Housefull 5. It's Thug Life, and the man of the moment is none other than Kamal Haasan. In what can only be described as a publicity storm, the actor's controversial comments may have ruffled feathers, but they've also done what even a Kamal Haasan-Mani Ratnam combo might have struggled with: create national-level buzz. From radio shows to prime-time news panels, Thug Life has become a talking point far beyond cinema circles. And it's showing results where it matters most - at the box office. Trade analyst Girish Wankhede confirms that Thug Life's advance bookings are outperforming Housefull 5, despite the latter being a massively star-studded franchise. "The strength of the controversy surrounding Thug Life was so significant that when advance bookings opened, the film garnered an impressive Rs 6.16 crore, while Housefull 5 managed Rs 6 crore," says Wankhede. "The heightened buzz propelled Thug Life to surpass Housefull 5, showcasing the powerful impact of public discourse on commercial performance." Which brings us to the surprise twist - how did a brand as big as Housefull lose the spotlight? Featuring names like Akshay Kumar, Abhishek Bachchan, Riteish Deshmukh, Nana Patekar, Jackie Shroff, and Sanjay Dutt, Housefull 5 had every ingredient for a promotional blitz. Yet, with minimal city tours and lukewarm fanfare, the film failed to break the internet or the ticket counters. Meanwhile, Thug Life went all out with high-octane promotions, slick visuals, and a political controversy that, ironically, became the film's best marketing tool. In today's attention economy, drama sells - and Thug Life nailed the formula. "Historically, controversies have helped films - from The Kashmir Files to Jodhaa Akbar," Wankhede notes. "But in this case, one provocative remark created enough storm to eclipse even a high-profile film like Housefull 5." So, while Housefull 5 plays to nostalgia, Thug Life plays to the moment. And right now, that moment belongs to Kamal Haasan.
New Indian Express
03-06-2025
- Entertainment
- New Indian Express
Why I find Aishwarya Rai's and Deepika Padukone's Cannes outings troubling
Bollywood stars like Aishwarya Rai Bachchan, Deepika Padukone, and Sonam Kapoor have long explored the Cannes Film Festival as a stage to showcase not their work but themselves, possibly because they are more attractive and intelligent than their movies. Aishwarya Rai Bachchan, a Cannes veteran since 2002, is a prime example of Cannes commodity objectification. Her filmography, including commercial hits like Jodhaa Akbar or Ae Dil Hai Mushkil, prioritizes her as a spectacle over substance. Yet she is a red-carpet darling, frequently representing L'Oréal, and misrepresenting herself as an actor. In 2022, Aishwarya wore a custom Gaurav Gupta Couture gown, described as a 'sculptural piece with minimal accessories', whatever that means, and a Dolce & Gabbana floral black dress. Her 2025 appearance featured an ivory Kadwa Banarasi saree by Manish Malhotra, paired with ruby heirloom jewelry from his High Jewelry line, with the saree alone estimated at ₹15-20 lakh ( $18,000-$24,000) and the jewelry potentially exceeding ₹1 crore ($120,000) due to its 500-carat ruby embellishments. A couple of great movies could be produced within the budget of her accessories. Deepika Padukone, another L'Oréal ambassador, has also prioritized Cannes' glamour over cinematic heft. Her roles in films like Padmaavat or Bajirao Mastani dazzle visually but predictably lack narrative depth, with critics noting their reliance on lavish sets over storytelling. In 2022, as a Cannes jury member, she wore a black and gold sequined Sabyasachi saree, estimated at ₹5-7 lakh ($6,000-$8,400), paired with statement jewelry from Sabyasachi's Bengal Royale Collection, valued at ₹10-15 lakh ($12,000-$18,000). Her red Louis Vuitton gown that year, with a plunging neckline and short train, was priced around $20,000-$30,000, with a diamond necklace adding $15,000-$25,000. Her 2018 fuchsia Ashi Studio gown cost approximately $15,000 to $25,000. These queenly ensembles contrast sharply with her film choices, like Gehraiyaan, which was panned for its shallow emotional core. Sonam Kapoor, known for her fashion-forward image, has starred in instantly forgettable films like Players or Mausam, yet her Cannes appearances are meticulously curated. In 2018, she wore a custom Ralph & Russo lehenga, estimated at ₹20-25 lakh ($24,000-$30,000), with Chopard jewelry valued at $50,000-$80,000. Her 2017 baby pink Elie Saab gown, styled with chandelier earrings by Kalyan Jewels, cost around $15,000-$25,000, with accessories adding $10,000-$20,000. Her 2013 gold and white Anamika Khanna saree, paired with a statement nose ring, was priced at ₹8-10 lakh ($9,600-$12,000). These high-cost looks amplify her "fashionista" persona, but films like The Zoya Factor underscore her limited cinematic contribution. Each year, a parade of Indian celebrities descends upon the French Riviera, draped in trailing gowns as long as a mile and tailored tuxedos, posing for paparazzi and flooding social media with carefully curated glamour shots. If only the care that goes into gowns also went into their movies. The problem isn't their 'look at me' entries. Global film festivals thrive on international representation. But the stark disconnect between the mediocrity of our actors back home and the gravitas they attempt to project at Cannes is telling. Bollywood, for all its cultural dominance and massive output—churning out over hundreds of films annually—rarely produces work that stands up to scrutiny. The majority of its mainstream fare is dull and tediously formulaic: melodramatic family sagas, recycled romantic tropes, or action flicks where the hero or the heroine triumphs over loud evil characters in oiled wigs. All of it guarantees ennui. Since we are in a gender-neutral age, consider their Hollywood male cohorts like Brad Pitt or Leonardo De Caprio. Pitt produced 12 Years a Slave, and gave himself a small supporting role. He backed Moonlight and produced The Big Short—movies that tackle complex themes with nuance and ambition. Leonardo DiCaprio's Appian Way Productions delivered The Revenant, The Wolf of Wall Street, and Killers of the Flower Moon, projects that push boundaries in craft and narrative. These stars don't attend festivals just for clout; they're invested in cinema as an art form, using their influence to fund stories that challenge, provoke, or redefine the medium. When they appear at Cannes, it's often tied to a project with weight. Their red-carpet moments are a byproduct, not the purpose. This isn't to say Indian cinema lacks talent or potential. Directors like Anurag Kashyap or Kiran Rao, Payal Kapadia, or Anant Mahadevan have shown what is possible when creativity trumps formula. But the stars who dominate Cannes' red carpet are rarely attached to such projects. The Bollywood industry's occasional gems—like Gully Boy or Tumbbad—rarely match the storytelling depth or technical finesse of global cinema. Aishwarya Rai Bachchan, a Cannes regular for over two decades, again, is a case in point. Her filmography, while commercially successful, includes forgettable fare like Jodhaa Akbar or Ae Dil Hai Mushkil, which prioritize spectacle over substance. The counterargument might be that Cannes is a global stage, and Bollywood's presence helps put Indian cinema on the map. Fair enough—visibility matters. But visibility for whom? The films showcased in Cannes' competitive sections are rarely the masala entertainers these stars headline. Instead, it's the low-budget, independent Indian films—often ignored by Bollywood's elite—that occasionally make it to the festival's Un Certain Regard or parallel sections. All That We Imagine As Light is an example. The stars' presence, then, feels like a distraction, drawing attention away from the filmmakers who deserve the spotlight. Their red-carpet antics overshadow the real work of Indian cinema, perpetuating a rather sadly true narrative that Bollywood is all glitz and no substance. If Bollywood stars want to be taken seriously at Cannes, they should take a page from their Hollywood counterparts. Invest in stories that matter. For the price of a gown or two, make a good movie. Champion scripts that challenge conventions. Produce films that can stand shoulder-to-shoulder with the best at the festival. Until then, their presence at Cannes will remain what it often feels like: a fashion show masquerading as a cinematic pilgrimage with little to show for it beyond Instagram reels and fleeting headlines on Page 3. (CP Surendran is a poet, novelist and screenplay writer whose latest novel is One Love and the Many Lives of Osip B. He can be reached at cpsurendran@ Views are personal.)
